PRODUCTION & PARTS YOUTH CENTRE OSDORP ATELIER KEMPE THILL 7X500
REMCO TEN BROEKE ELENA SHULGINA NATASHA STOJMANOVSKA
0890436 0887359 0887304
Content: Introduction /2/ Concept /3/ Research /4,5,6/ Site visit /7,8,9,10,11,12,13,14/ Detail Study /15,16,17,18,19,20/ Detail construction process /21,22,23,24,25,26,27,28/ Conclusion /29/ Sources and references /30/ 1
Introduction: Selection process and arguments
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During the selection process we were looking for a building that shows the relationship between materials with different properties, the impact that material selection has on the perception of the building, when approached and spatial perception once inside. We have chosen the Youth Centre in Osdorp, Amsterdam, as it shows strong differentiation between transparency and opaqueness of the faรงade, therefore between public and private space enclosed behind the facade. Whereas the ground floor is a public and transparent cube, the first floor accommodates space for activities as video, audio shows and experiments, community meetings and is completely opaque and a more private volume. 2
Concept:
Image 2. Concept (Atelier Kempe Thill architect and planners, 2011
The main points of the concept by Atelier Kempe Thill Architects were to: • Merge the building into the existing environment of the park secluded by the residential development; • Define social significance of the building as “visible and free standing building” ; • Define the contrast of the spatial qualities and requirements by use of two, opposed to each other, volumes; • Combination of creativity and economical approach • Create “public living room’ i that would be a part of public park 3
Research:
Prior to visit we have researched available information on the Youth Centre. We have studied available images and drawings in order to have a deeper understanding of the design team’s intentions. We have learned that the bearing structure of the building is a steel frame with concrete slabs. Steel columns are located at the four corners of the buildings, behind the glass façade. The columns run from the ground floor level up to the roof level. Steel beams span between the columns and form a steel frame, which supports concrete slabs of the first floor and the roof. The ground floor outer shell is a glass facade, with a sleek steel frame. This steel frame, which is supporting the glass, is constructed out of L and S shaped steel profiles which are supported by wooden posts and beams, placed next to the steel bearing columns. The use of an up to 5 m. long inexpensive “all –glass system” ii planes with an extremely narrow and almost invisible steel frame gives the ground floor a permeable look. The door which is placed on the corner of the building, along with the ingenious outer shell solutions, provide an effect of complete transparency and integration into the park landscape on the ground level. The glass reflects the surrounding environment. Because the ground level is completely see-through, the segregation between outside and inside is very vague. The first floor on the other hand is a completely opaque volume, which is naturally lit by the skylights. The walls of the first floor are composed out of limestone and are insulated with a polyurethane foam system . This is then coated on the outside with a polyurethane spray coating – that acts both as the finish layer of the façade and water insulation. Image 3
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Image 4. Detail (Atelier Kempe Thill architect and planners, 2011
From the prior analysis of the building we have formed our questions and possible issues with the design: 1)Whether the steel frame, which is placed behind the glass faรงade in the corner, and the conflict each other? Will the main support structure of the building act like an obstruction to the user? 2)How is the detailing of the glass framework and what is the substructure for the framework? How is each piece assembled and kept in place? 3)How the door, placed at the corner of the building functions and how it is detailed 4)How does the detailing complement the concept of the building? 5
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When studying the building we have concluded, that the most important detail is the corner of the building, where the door meets the edge. We found that it completes the essence of the permeability of ground floor, and emphasises the contrast between two volumes. The presence of the door is crucial for the ease of access to the building, but a massive door frame might affect the overall essence of permeable faรงade. We found that the solution for this problem by Atelier Kempe Thill architects is very elegant.
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Site visit: The building is located in the suburban area of Osdorp. It is surrounded by quality designed residential quarters and located at the south east corner of the local park. During the site visit we have approached the site from the south. The building stands out in the environment due to its solid, but amorphous white volume. Once approached one sees the glass facade at ground level, which reflects the environment, and therefore looks like a prolongation of the street.
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But the custom manufactured door is detailed so that the glossy surface of the glass façade stays uninterrupted. The door is a full height of the first floor, and therefore has a minimal impact on volumetric perception of the transparent volume. All the interior on the ground floor , including structural and sub-structural elements, are painted white. Hence the permeability and lightness of the ground floor level is emphasised – as the interior is perceived as a whole from the outside.
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Image 9. Ground Floot Plan
The first floor is also divided into two or three zones - public and private + services. The private zone is a cubic volume in the middle of the floor plan. The cube contains an information point and a service room, as well as toilets on both sides of the enclosed space. Behind the service point is the kitchenette, which is accessible by visitors is located. The rest of the transparent volume is an open plan.
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Image 10. Interior view
Staircases are located along the north and south facades of the building, providing access to the first floor. Once Inside the function of the ground floor as a part of the outdoor is very strong. According to the member of staff we had talked to, people who use the space on the ground floor for meeting, etc. feel that they are in an open space therefore the idea of an architect for green park surrounding becoming a “part of the interior� is realised well iii. Many users however feel a lack of privacy.
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Image 11. Second floor
The first floor is accommodating community meetings as well as video screening, music experiments, dance classes, etc. The space is an open room with the possibility of dividing it into two smaller spaces by an acoustic mobile partition. The space is naturally lit by two skylights. The natural light distribution is emphasised by the use of white colour to the interior finishes. Once you are upstairs – the space presents itself bright and open, due to the skylights and double height volume. The upper floor surprisingly contrasts, by the intensity of natural light, with the ground floor, as the last is naturally shaded from the sunlight by surrounding trees. 11
Image 12 . Second floorplan and section 0
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On the sides there are cabinets and storage facilities. The space is double height, therefore storage is divided into two levels, the upper level of the storage facility is accessed by ladder and has an access to roof level.
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Floor
Ceiling Image 13. Floor finish and ceiling finish
One of the concept aspects was to design an economical solution, therefore using materials that are inexpensive. On the ground floor, the service and information point are secluded by the plaster walls painted white with two display windows on north and south sides. The floor finish is an inexpensive PV coating, that has worn a lot since 2011, and might not act as a protective layer to concrete anymore. The ceiling is a plaster spray with a paper additive, which acts as an acoustic absorber, due to porous structure of the material. The strategy of the architect, which was to create a striking but inexpensive community centre, had an effect in the long run. Due to the openness of the ground level, the building not only seems welcoming from outside, but also vulnerable and easy to access. That has resulted in a series of vandalism to the faรงade and robberies during night hours. 13
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Image 14. Corner detail inside
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1) When closely watched, one can see that the ceiling finish ends onto a aluminum profile. 2) The gap between the timber beam is sealed with an abundance of sealant. 3) The timber beam above the window is painted white. 4) The beam above the door is coated with an aluminum custom plating, so is the wooden post at 5. 6) Outside, one can see that the horizontal Z-profile above the window is contramolded against the vertical one. 7) The L-shaped steel above the door is not present arround the corner. 8) The glass is glued inside the steel profile. One cannot see the steel profile so a foil must be present inside the double glazing. The outside pane seems to be larger then the inside one. 14
Detail study:
Image 16. 3D detail
The structural system of the building is a steel frame with concrete slabs. All the installations are placed inside the walls or floors,iv therefore higher spaces are available in the two volumes. The ground floor faรงade substructure is a framework of timber beams and posts. Timber posts are placed at each corner of the building next to structural steel columns as well as at the vertical elements of the glass frames. The glass frames are 5 mm thick steel profiles, of different configuration for doors and curtain walls. The first floor wall construction is a limestone brick which is polyurethane insulated and PV coated. The Insulation and PV layer are running from the first floor level up to the roof and over the actual parapet. Therefore a continuous watertight envelope is formed. The insulation plus PV finish on the lime brick and glazing are forming the outer shell of the building. 15
ñ UV resistant polyurethane coating ñ Polyurethane hardfoam isolation ñ Wooden support structure
- 18 mm mdf - 100 mm rockwool isolation in timber frame - 12 mm mdf - Steel structure to support ñ Custom made aluminum profile
ñ Ballastlayer gravel ñ Bituminous roof covering ñ Polyurethane hardfoam Isolation
including slope
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ñ In-situ concrete ñ Hollow section concrete slab ñ Acoustic spray-on paperbased plaster
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ñ Cement
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ñ HE 180 B steel profile ñ Timber ñ Fire-retardant plasterboard
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ñ UV resistant polyurethane coating ñ Polyurethane hardfoam isolation ñ Limestone blocks ñ Vapor resistant membrane ñ Timber battens ñ Double plasterboard
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ñ HE 180 B
Image 17. Vertical 2D detail. M 1:10
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ñ HE 180 B steel profile ñ Timber ñ Fire-retardant plasterboard
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ñ UV resistant polyurethane coating ñ Polyurethane hardfoam isolation ñ Limestone blocks ñ Vapor resistant membrane ñ Timber battens ñ Double plasterboard
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ñ HE 180 B ñ Waterproof membrane ñ Steel L-beam ñ Aluminum cover 67x92
- Powdercoated in black
ñ Aluminum profile ñ Sealant ñ Batten
ñ HE 180 A
ñ Sealant ñ Glass 14-15-12 mm ñ Sealant ñ Timber beam
ñ Custom steel profile
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- Powdercoated in black
ñ Sealant ñ Glass 14-15-12 mm ñ Sealant ñ Timber beam
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ñ Screed ñ Polyurethane hardfoarm ñ In-situ concrete ñ Wide slab flooringsystem ñ Acoustic spray-on paperbased plaster
ñ Screed ñ Hollow section concrete slab ñ Polyurethane hardfoam isolation Image 18. Vertical 2D detail. M 1:10 ñ Sand
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ñ Custom steel profile
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ñ Glass 14-15-12 mm ñ Sealant ñ Timber beam
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ñ HE 180 180
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Screed Hollow section concrete slab Polyurethane hardfoam isolation Sand
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- Powdercoated in black
ñ Sealant ñ Glass 14-15-12 mm ñ Sealant ñ Timber beam
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Gravel Coated polyurethane panel Steel L-beam In-situ concrete
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ñ Polyurethane hardfoarm ñ In-situ concrete ñ Wide slab flooringsystem ñ Acoustic spray-on paperbased plaster
ñ HE 180 A
ñ Custom steel profile
ñ Batten
ñ Cement ñ Polystyrene mold ñ Concrete foundation
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Image 19. Vertical 2D detail M 1:10
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ñ HE 180 B ñ Waterproof membrane - Powdercoated in black ñ Steel L-beam ñ Composed timber beam ñ Aluminum cover ñ Batten
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ñ Custom steel profile
ñ Structural glazing ñ Black opaque foil ñ Custom steel profile
ñ Screed ñ Polyurethane hardfoarm ñ In-situ concrete ñ Wide slab flooringsystem ñ Acoustic spray-on paperbased plaster
- Powdercoated in black
ñ Sealant ñ Janisol 60 Steel door
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Image 20. Vertical 2D detail
The substructure for the glass facade is a timber frame, that supports the window- and doorframe profiles. Timber beams are attached on the ground floor level to the hollow concrete slab and to the first floor concrete slab by steel L-shaped profiles. Timber columns are placed at a distance that 147elements. Window S profiles are screwed to corresponds to the distance between vertical glass frame ñ Custom steel profile 8 40 - Powdercoated in black 35 for93up to75 m, long the timber posts and beams and provide a support glass planes. ñ Sealant ñ Glass 14-15-12 mm ñ Sealant ñ Composed hardwooden post ñ Custom Aluminum cover
- Powdercoated in white
ñ HE 180 B profile
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ñ Custom aluminum L-profile
- powdercoated in white
147 8 40 - Powdercoated 35 93in black 7 ñ Sealant ñ Glass 14-15-12 mm ñ Sealant ñ Composed hardwooden post ñ Custom Aluminum cover - Powdercoated in white ñ HE 180 B profile - Powdercoated in white ñ Custom steel profile
ñ Custom
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ñ Sealant ñ Glass 14 ñ Sealant ñ Compos ñ Custom
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ñ HE 180
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ñ Weilded custom s custom steel profile - Fixation - Fixation through steel doorframe ñ Doorhing ñ Doorhinge ñ Weilded plug attached to
ñ Structural glazing ñ Black opaque foil ñ Custom aluminum L-profile ñ Custom steel profile
- powdercoated in white - Powdercoated in black ñ Sealant ñ Janisol 60 Steel door
ñ Structural glazing ñ Black opaque foil ñ Custom steel profile
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ñ Sealant ñ Janisol 60 Steel door
Image 21. Plan detail door
The door is designed in such a way that outer glass plane of the door is a continuation of the transparent facade. The effect is achieved by hiding the bearing doorframe behind the glass. The glass is fixed on an L-shaped profile, which in turn is attached to the doorframe. In order to hide the connection between two panes of sealed double glass and connection with the steel L-shaped profile, black film is applied to the back of the outer pane of the glass unit. The “all- glass system” walls are designed with the same principle – the bearing frame is hidden behind the glass, which is held in place by z-shaped profiles, that are connected to the supporting frame 20
1:1 Detail construction process:
1) We have started the construction process by figuring out the important parts of the details. They would be manufactured in a real materials, in order to maximize the significance of precise materials in the detailing. 2) Because the glass on the steel profiles along with the corner door detail are the main elements that allow for a complete openness of the façade to the outer landscape, we have decided to show the glass and the steel in real materials, as precise dimensions and qualities of the materials, play tremendous role in space perception. We considered structural elements to be less significant, and therefore supplemented them with mdf, keeping the real dimensions. As in real life, the construction was made first so we could assemble the substructure and finishes on it. 3) As the cladding material of the façade on the second level is only significant from the outside, and the interior is a simple natural lit volume – we have decided to maximise the texture quality of the solid volume, as it is perceived from outside. Stucco was used as a surrogate for the polyurethane spray-on finish. On the inside we used a painted paper maché to simulate the acoustic plaster. 4) During the construction process, we had achieved a better understanding of functioning of different elements of the construction. The batten behind the wooden beams is placed there for airtightness and the actual beam is carried by a heavy steel L-profile, which is attached to the concrete. Since these were not an essential part of the model we used smaller steel profiles for this, which were cheap, and hidden on the model anyway. 5) We have also learned that a combination of timber and steel in the construction might allow an economical construction, as the steel frame has a fast assembly method and a timber substructure allows for more flexibility in the façade assembly and application of custom made elements.
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Image 22. Work in progress - Painting and assembling
6) Aside from having worked with the actual building materials, the ordering was also quite educational. Our detail was all about slick details of steel and glass. Having it done in a surrogate material wasn´t enough for us and thus we needed to obtain the actual materials. With a lot of calling back and forth we were able to get the steel, which we actually picked up in Belgium, and the glass. Having to deal with delivery times and manufacturing costs was an eye-opener. It’s also safe to say that we underestimated the effort that goes into this process. Having to deal with manufacturers gave us better knowledge of what is possible in which materials and against which costs. Due to our limited budget we were forced to cut, drill and paint the steel ourselves. 22
Image 23. Work in progress - structurally gluing glass to steel
7) The glass and steel was assembled during the weekend so that we only had to attach the preassembled parts to the concrete and wood. Because of having to work with the steel ourselves, welding was not possible. Making sure that the glass and the doorhinge were already structurally glued to the steel, so we had a door instead of seperate steel profiles, was the way to go. Butterflybolts therefore had to be already placed inside the L-shaped steel. The steel doorframe arrived on the last day before the deadline and had to be handled and drilled in the TU workshop. The whole door was then fixed to the structure along with the rest of the glass and the steel profiles. 23
Image 24. Construction process
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Image 25. Detail model 1:1, View from above
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Image 26. Detail model 1:1, Section
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Image 27. Detail model 1:1, Section
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Image 28. Detail model 1:1, Close up
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Conclusion:
As a designer it’s quite easy to draw lines as a reference, but we rarely see all the consequences of it. Actually having to build the structure you have drawn required far more insight en creativity of us than ever before in a project. The detail we chose was out of our comfort zone and thus we didn’t quite get the entire drawing at start. Due to the many custom pieces of steel we weren’t sure which were structural and which were aesthetic. Due to different hatches used in today’s details we weren’t sure if some parts of the building were either isolation or wood. Seeing the building at a site visit, thinking about problems that occur, redrawing the detail - Throughout the project we discovered more and more about the detail. Even with the full 2-d information supplied by the architects and the web it wasnt completely clear where and how some of the building materials would meet. We noticed that you only really see these problems when you draw them in 3-d - in detail. Doing so, we found some issues. We deliberated on how to fix them, and changed the detail in that way. Because of wanting to make the important parts of the model with the actual materials, there was a lot of ordering involved. This took a lot of time but was also quite educational. Due to research and communication with suppliers we managed to get the materials at the lowest possible fee. Being able to work with the actual building materials gave us new insights about handling with steel and glass. The main thing: They are heavy and the forces applied upon them are immense! There is also the fact that you need quite other tools for working with steel than for working with wood which at very least makes us better DIY’ers. Due to trial and error we found ways of dealing with the steel in ways which were possible for us. Along with the skills we have obtained, thorough study of the detail of Osdorp Youth Centre has thought us of how non-standard thinking in the detail design leads to unique and perceptual architecture. Only after making the model do we truly realize how the slick way of detailing contributes to the execution of the concept and we feel that this is done very well by the architect.
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Sources and references:
“Youth Centre Amsterdam-Osdorp / Atelier Kempe Thill” 15 Nov 2011. ArchDaily. Accessed 06 Apr 2014. <http://www.archdaily.com/?p=184188> ii “Youth Centre Amsterdam-Osdorp / Atelier Kempe Thill” 15 Nov 2011. ArchDaily. Accessed 06 Apr 2014. <http://www.archdaily.com/?p=184188> iii Youth Centre, Amsterdam, Osdorp, [NL], 2011, Atelier Kempe Thill , Accessed 06 Apr 2014. <http://www.atelierkempethill.com/0041.html> iv “Youth Centre Amsterdam-Osdorp / Atelier Kempe Thill” 15 Nov 2011. ArchDaily. Accessed 06 Apr 2014. <http://www.archdaily.com/?p=184188> iv Atlier Kempe Thill architects and planners, Nov 2011, project documentation i
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RODUCTION & PARTS ///////////////////////////////////////////////////////////////////// YOUTH CENTRE OSDORP ///////////////////////// //////////////////////////////////////// ATELIER KEMPE THILL ///////////////////////////////////////////////////////////////////////////////////////////////////////////
U/e TU/e - Architecture - Architecture pril April 20142014 ///////////////// ///////////////// ndhoven //////////////// Eindhoven ////////////////